Robert Motherwell Paintings and Collages: A Catalogue Raisonné 1941 – 1991 Volume 3 - Flipbook - Page 457
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A View No. 13
A View No. 14
Untitled
1958
Oil and ink on paperboard
30 x 22 in. (76.2 x 55.9 cm)
Ca. 1958
Oil and graphite on paperboard
30 x 21¾ in. (76.2 x 55.2 cm)
inscriptions
Recto, lower right: R Motherwell 58
inscriptions
Recto not signed, not dated
Alternative Title: The Easel II
1953/ca. 1958
Oil, casein, crayon, and graphite on
paper
14 x 11 in. (35.6 x 27.9 cm)
artist’s studio number
p58-1011
artist’s studio number
p58/60-2835
present owner
The William Benton Museum of Art,
University of Connecticut, Storrs.
The Louise Crombie Beach Memorial
Collection and gift of the Dedalus
Foundation
present owner
Private collection
provenance
Dedalus Foundation, 1991; William
Benton Museum of Art, University of
Connecticut, Storrs, 1995
provenance
Dedalus Foundation, 1991; private
collection, 2005
solo exhibitions
Marlborough Gallery, New York, 2002.
Manny Silverman Gallery, Los Angeles,
November 2002, cat. no. 27, cover color
illus.
inscriptions
Recto, upper right [partially painted
over]: [Robert] Motherwell
artist’s studio number
d53-5035; p58-26
present owner
Collection of Morrie and Rolaine
Abramson
provenance
Dedalus Foundation, 1991; Morrie and
Rolaine Abramson, 2003
solo exhibitions
Samuel M. Kootz Gallery, New York,
April 1953 (shown in early state), as
The Easel II.
Solomon R. Guggenheim Museum,
New York, 1984, cat. no. 112.
references
Seitz 1955, illus. n.p. (fig. 176, in early
state, as The Easel No. 2); Seitz 1983,
illus. n.p. (fig. 188, in early state, as
The Easel No. 2).
comments
Motherwell began this work in 1953,
as a pencil drawing titled The Easel II,
which was modeled on the compositional structure of his 1952 collage The
Easel I (c58); the drawing was signed
in the upper right corner, “Robert
Motherwell” (Juley photo no. 10;
j0004808). Sometime around 1958,
Motherwell painted over most of
the drawing with oil and added the
diamond-shaped motif found in his View
series (see the Comments for p182); at
that time he also painted over his first
name, leaving only “Motherwell” as the
signature. Portions of the original drawing are visible in the unpainted areas in
the upper half of the finished work.
p a i n tin gs on paper and paperbo ard
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